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The last decade has seen a diffusion of the Gothic across a wide range of cultural sites, a relative explosion of Gothic images and narratives prompting a renewed critical interest in the genre. However, very little sustained attention has been paid to what we might term 'Gothic television' until this point. This book fills this gap by offering an analysis of where and how the genre might be located on British and US television, from the start of television broadcasting to the present day. In this analysis, Gothic television is understood as a domestic form of a genre which is deeply concerned with the domestic, writing stories of unspeakable family secrets and homely trauma large across the television screen. The book begins with a discussion on two divergent strands of Gothic television that developed in the UK during the 1960s and 1970s, charting the emergence of the restrained, suggestive ghost story and the effects-laden, supernatural horror tale. It then focuses on the adaptation of what has been termed 'female Gothic' or 'women's Gothic' novels. The book moves on to discuss two hybrid forms of Gothic drama in the 1960s, the Gothic family sitcoms The Munsters and The Addams Family, and the Gothic soap opera Dark Shadows. Finally, it looks at some recent examples of Gothic television in the United States, starting with a discussion of the long-form serial drama, Twin Peaks, as the initiator of a trend for dark, uncanny drama on North American television.
Kollman 03_Tonra 01 03/12/2012 12:17 Page 44 3 International policy diffusion: socialisation and the domestic reception of international norms Despite potential synergies, to date lesbian, gay, bisexual and transgender (LGBT) politics and international relations (IR) scholars have done their best to ignore one another. The stark temporal and regional clustering of LGBT rights expansion and SSU implementation in western societies since 1989 strongly hints at common international sources of influence. The existence of convergent national policy change alone
anthology series on American television was prefigured by the genre’s popularity on the radio, again highlighting the relationship between the domestic reception context and the Gothic text. Indeed, several shows which first appeared on the radio made a successful transition to television, such as the anthology drama series, Suspense (CBS, 1949–64). Suspense featured the adaptation of classic
over a particularly weak French industry, Jean Valjean and Emma Bovary appeared as heroes, and not just of their respective novels. What could be more appealing to a national audience than hearing exalted actors speak the language of Hugo or Flaubert and on actual French landscapes? To their presumably sure-fire domestic reception could be added educated viewers everywhere on the planet, ensuring sizeable export potential for French classics everyone had heard of.1 That their titles alone could guarantee an audience had already been proven by Albert Capellani’s Les
reception and fit. Crucially it also helps analysts distinguish between the effects that culture, institutional norms and formal institutional structures have on the domestic reception of international norms and ideas. These variables have often been subsumed under common and amorphous concepts such as ‘norm salience’ in constructivist literature on the topic. As a result of this conflation, broader understandings of culture that incorporate societal values, myths and national symbols often play second fiddle to constitutional norms, bureaucratic standard operating
ways that these anthology programmes approached the difficulties of presenting Gothic or supernatural fiction on television. These programmes demonstrated a clear consciousness of their domestic reception context, not merely in their repeated return to the home as dramatic location; we can also see a clear address to a domestic viewer through close analysis of the programmes in hand and through
Africans, let us also remember that nearly two years of single-handed, enlightened, essentially compassionate and constructive administration were also erased on that terrible March morning.’ 90 Conclusion Such contemporary readings form powerful evidence of the contested nature of the Hola affair. Today, the massacre and its domestic reception have taken on significance as
values and more narrow notions of political culture – plays in the domestic reception of norms and policy change. The institutional turn in political science has led to the domination of structural explanations in comparative politics and international relations. Studies of domestic norm reception by IR scholars have tended either to conflate structure and culture in their definitions of domestic traditions or have ignored values-based variables altogether. As the analysis in this study makes clear, SSU policy debates, in which concerns about economic interests have
the aim of saving around Euro 2.4 billion. Struck’s room for manouevre will also be shaped by the commitment to conscription, also present in the VPR of 2003, a policy which will continue to make sizable manpower demands on the defence budget. Domestic reception of the VPR again honed in on two crucial areas: conscription and finance. Both the Greens and the Liberals support the abolition of conscription and consequently called for amendments to the guidelines. The CDU, meanwhile, supported the general direction of the guidelines, but argued that the current defence
television’s simultaneous reference to its domestic reception context, in order to produce its lucid sense of the uncanny. As will be argued in the following analyses of Gothic television, we are constantly reminded that this is terror/horror television which takes place, and is viewed , within a domestic milieu. Other critics have also located the juxtapositioning of the familiar and the strange within